Monthly Archives: January 2017

My last post detailed my pool party tunic for the wedding our family attended in Miami earlier this month. The wedding was black tie and of course I created a special dress (when friends and family know you sew, you can’t exactly show up at these affairs in a store bought garment).

Here is the inspiration design and spectacular fabric from B&J’s. I spotted this while shopping in the NYC garment district and knew this would be the fabric to work with.

The black silk taffeta from Como, Italy is a border design composed of hand painted flowers and dimensional black flowers in what felt like vinyl paint. A closeup look shows the brush strokes. This design was definitely done by hand; there is somewhat of a repeat but there are irregularities characteristic of hand work.

Now that I have the fabric, what to do with it? Sometimes the characteristics of fabric dictate the design. I wanted a slim fitting style with fullness at the hem. I did a toile using released box pleats, but it just wasn’t right.

Flaring the skirt using a border print poses problems. The hemline has a distinct curve which causes he border to appear off grain. Layout showing a conventional pattern shaping:

The hem curve may not look pronounced in this scaled down illustration but it became quite noticeable when enlarged to full scale. Solution: break up the fullness into multiple smaller sections which allowed the hem to follow the horizontal line of the border. I had three yards of fabric and planned for the hem fullness to be distributed as 1 yard in the front and 2 yards in the back. Lower bodice sections fit nicely in between the skirt sections.

My custom dress form also needed a little tweaking as this design would follow the back hip area closely. Most dress forms stop at the hip line but I wanted mine to extend down past the low hip. I constructed a new cover and also added two flexible arms. Details of how to modify a dress form in this way will come in a future post.

The dress was designed using a combination of draping and flat pattern design. I applied style lines to the form to drape the bust and hip areas. The side seam was shifted towards the back; I felt the back seam lines worked better this way. The front had a single princess line; hem flare started 9 inches below the low hip and flared to 36 inches in the front, 12 inches in each of the 6 back sections for a total hem width of 108 inches.

The silk taffeta was underlined with silk organza. A layer of black cotton muslin provided additional support and extended from the waist to 9 inches below the low hip line. It was catch-stitched just inside the seam lines. The interior corset was cut from two layers of cotton tulle, one layer on the cross grain and one on the lengthwise grain (a technique I picked up from studying the work of Barbara Matera, the renowned Broadway costume designer). Spiral steel boning is enclosed within the casings. I find the tape used to stabilize armholes in tailoring makes a wonderful thin and strong way to prevent the top edge from stretching out of shape. The white zip is basted in for fitting but will be removed when the corset is sewn into the final dress.

I felt a lining in the hip area would be prone to shifting and might cause wrinkles, so I opted to finish the seams in this area with lengths of grosgrain ribbon. The white boning which extends from the top to low hip is one length of horsehair braid stretched, steamed and zig-zig stitched into another length of un-stretched horsehair braid. I find this boning is flexible yet smooths the seams over the body in a slim fitting garment.

I found a wonderful embroidered tulle with three dimensional flowers to form the upper bodice and sleeves. An underlayer of cotton tulle was fitted and thread traced for use as a pattern when cutting the heavily embroidered tulle. Having each section with seam lines thread traced made it much easier to place the design so it would be mirror-imaged from right to left sides.

A section of the embroidered edge was shaped to follow the collar. The decorative edge fell stitched in place and excess cotton tulle trimmed away.

I don’t care for the look of just sewing a plain seam when an appliqued seam could make the transition from one fabric to another look better. I sewed the back upper bodice through the layer of cotton tulle only; then hand appliqued the decorative tulle edge.

The front seam got a few appliques to disguise the seam. Working with lace is so forgiving as you can hide almost anything. Here is a shoulder seam before and after a little applique work. I also find it easier to work in sections and complete as much as possible before joining one section to another. Finish the skirt, inner corset, lace section and bodice before attaching them together. It saves much wear and tear on the dress.

Another small detail gleaned from Barbara Matera: raising your arms in a close-fitting dress can be difficult. Solution: add an underarm gusset. I cut a football-shaped piece of stretch mesh (about 5.5 inches long by 3 inches wide) and inserted it in the underarm seam centered between the front and back. Sewing by hand was much easier than manipulating the dress into the machine. It doesn’t show and makes moving so much easier.

Have you ever had a major clothing malfunction? For the back closure I found a zip with sheer mesh tape while shopping in NYC. It was only available as a two-way zip. I figured no problem, I would just insert as usual and not use it as a two way. Put my dress on; all’s fine. We are leaving for the ceremony and my daughter-in-law notices the zipper is starting to open in the middle of my back. Within minutes the entire back is open. I tried to run the slider to the bottom and realign the coils but no go. My husband asks if I have anything else to wear. This is an out of town affair and I didn’t exactly bring a selection of evening gowns. There is only on solution: get sewn into the dress. Fortunately my husband is an OB/GYN and has a fair amount of experience sewing (humans that is). I did have a supply of needles and thread so, with Holly holding a cell phone light on the sewing (operative) field, I told him to just whipstitch (non-interrupted running stitch), the zipper tapes (incision) closed. I had a backup supply of needle and thread in my evening bag just in case but his stitching held firm throughout the night. I’m replacing the zip with my standard invisible version which has never once failed.

Our family is in wedding mode. We gathered in Miami this past weekend to celebrate our nephew’s marriage. I also finally got to meet Sarah of Goodbye Valentino in person! We have been following each other’s blogs for several years and I was invited to do a guest post for the launch of “The Tunic Bible.” I wore an ankle length tunic to the welcome party around the hotel pool; very appropriate attire.

The tunic fabric was purchased in Mood several years ago. It is like raffia but much softer and woven with a knit backing. The fabric is quite flexible and extremely comfortable. I used my master tunic pattern and was able to eliminate the back waist darts and incorporate the shaping into the side seams.

I enjoy having my garments look clean and finished on the inside. All seams were bound with narrow strips of bias cut china silk. I attached them with hand sewing; much more elegant and softer than machine stitching.

The side vents and hem were invisibly slipstitched, catching only the knit backing, to prevent them from flipping to the right side. The collar band was faced with a scrap of gold toned silk charmeuse.

The challenging aspect of this project was to work the trim (also purchased at Mood Fabrics) so it looked custom shaped for the neckline. The neckband trim was arranged so that the motifs were symmetrical at center front and front neck opening pieces were mirror images.

Removing the unwanted beads and stitching was tedious to say the least as I didn’t want to damage the net backing. It would be needed to back the bald areas and prevent beads from sinking into the textured fabric. Save the removed beads for later.

To create a neat finish at the lower edge I stitched silk organza in the desire shape to face the edge. Hand stitches here; machine stitching this would have been impossible to control. Turn and trim the organza.

Fill in the areas with saved beads and it looks like a custom shaped trim.

Next up will be the gown I created for this black tie wedding. Sarah just published pics of her stunning outfit; be sure to take a look.

My youngest son was recently married and I had the joy of creating my new daughter-in-law’s gown. But before elaborating on the details of her gown I thought I would share photos of gowns I created for my other two daughter-in-law’s.

My oldest and his bride opted for a beach wedding on a far flung island in the Bahamas; not easy in terms of travel and logistics, but spectacular. She chose heavy silk crepe fabric and I embroidered abstract roses on the skirt. Random petals were cut out and backed with silk organza. The embroidery doesn’t show well in the photo. Silk organza flowers covered the narrow shoulder strap and cascaded down the bodice.

My middle son’s bride chose an antique looking crochet lace woven from silk, wool and cashmere. The ivory lace was backed with white silk charmeuse and underlined with ivory silk tulle. The lace required precise layouts as it had a large pattern and I wanted to position the scalloped edge to skim the ground in the front. Hemming this lace wasn’t an option so the toile needed to be carefully fitted. I also played with various edge and seam finishes using the lace borders. Here is a pic of her getting unrumpled and set for her entrance.

My youngest and his bride chose a beach setting for their wedding so her choice of a simple gown sewn in heavy silk crepe worked well. We designed a dress with a fitted and flared skirt, bodice with low necklines front and back, and jeweled belt.

The problem with low neckline in both front back is keeping the shoulder strap up. The bride doesn’t want to spend the night struggling with falling straps. Spiral steel boning solved the problem. After attaching the strap to the back bodice, interfacing with a channel for the boning was stitched to the underlining. The boning extends to the waistline seam in order for the strap to be supported from the waist up. Seams were turned under and catch stitched, ready for lining.

My first draft of the bodice had all the shaping transferred to one dart but no matter how I shaped and pressed the dart it ended in an unattractive point. The day before our final fitting I removed the front bodice and remade it using princess seaming which had a much better silhouette. I added a layer of cotton flannel to the front to camouflage a stick-on bra. The flannel was catch stitched just inside the stitching lines to avoid unnecessary bulk.

Firm cotton sateen reinforced the center front. I normally use silk organza for this but the deep plunge neckline needed something firmer.

The lining was inserted by hand. There was no way to do this by machine and sometimes sewing by hand is simply easier and produces better results. Hand sewing enabled me to ease the lining in much smoother than could have been done by machine.

A final touch for good luck is a horseshoe covered in silk ribbon. I start with a small cardboard horseshoe shape. Wrap narrow silk ribbon from both ends meeting at the top. Secure with narrow double sided tape and add a bow.

A French bustle held the skirt up for the reception. Color coded silk ribbons made it easy to tie everything up after the ceremony.